Random doodling on a 280a connected to a Dynacord digital reverb system and connected to camera audio input (hence grainy audio quality).
Just going through the presets and controls and playing random stuff to demo the sounds.
Dynacord Reverb is a bit noisy/hissy.
I have created a free library of Dynacord DRS 78 Impulse Responses (in wav format) for use with any convolution reverb that accepts IR’s in wav format. So if you like the sound of the Dynacord reverb unit you can have that sound in your own productions.
To download the free IR’s visit www.synthmagic.co.uk/free.html

Just in case you did not know; Seeburg was an American design and manufacturing company of automated musical equipment, such as orchestrions, jukeboxes, and vending equipment. Automated musical equipment, such as coin-operated phonographs and orchestrions, were manufactured under the JP Seeburg and Company name for most of its early years. Until 1956, the company was family-owned. The company was founded by Justus Sjöberg from Gothenburg, Sweden. He moved to the US after graduating from Chalmers and used an Americanized spelling of his name for the company. In the late 1940s, Seeburg manufactured its popular and distinctive “trashcan-shaped” series of jukeboxes

Recorded / improvised with my Roland CR-68 (Compu Rhythm) on minimal setting.
From the Polymoog I had the direct output and resonator outputs fed into my Behringer mixer while the VCF output was fed into my Ibanez UE 305 with Analog Chorus,Delay and Compressor all engaged and output back into my cruddy mixer.
I was obviously tweaking the sound in spots… Most notably the VCF Cutoff and sometimes S/H rate etc. Towards the end, or somewhere in the middle I brought down the release for a more plucky sound while the lower half of the Polymoog had a bit more sustain… Unfortunately I recorded this to digital (Tascam DP01FX) It sounded much nicer through my Tascam 688 Cassette 8-track but then I couldn’t transfer it to this media from there. Also, my Polymoog is only offering out Square waves at this time or else it would have sounded even way more complex and OTHERWORLDLY!!!
I have a feeling the Blondie and Gary Numan mostly used just Squarewaves anyway for their string sound… Though ealy 70’s Ultravox relied more heavily on the deeper and fat sounding Polymoog sawtooth waveforms…

The Drumssette is the result of a disassembled Tascam four-track recorder that’s been repurposed as an “analog” drum machine. Each of the four tracks has a drum sound which is played on a continuous loop. It has a 16 step sequencer that works by muting each track by default. When a step is triggered, it temporarily unmutes the track allowing the sound to play for that step.

As well, the rate at which the audio loops onto itself determines the clock speed. This is used to time the step sequencer but can also be used to gate an external device, for example the Polymoog shown in the embedded video below. There’s a lot of information available on Mike’s site, so check it out if you’re intrigued.

If the last post made you want to play a Polymoog but you don’t have one lying around there’s only one software option available AFAIK: the Reaktor ensemble Polymojo.

This imitation is mainly a Polymoog Synthesizer BUT the blue buttons are from the cut down/preset version Polymoog Keyboard. It does not include the MODE-filters. Hence there is no fader for that in the Master/mix section.

The Polymoog is a bit difficult to understand as there are 3 different filter sections and also a signal direct from the oscillator without filter. One of the limitations of the Polymoog was the lack of polyphonic dynamic filters. The MODE filter is polyphonic but it’s not possible to control it by an envelope. There’s a 4 pole LP filter – but it’s monophonic. And there bank of 3 resonant filters but these are also monophonic. The keyboard can be split in two different ways to create more sounds variation over the range of the keyboard but it’s also makes it a bit difficult to program. Each voice has 2 oscillator BUT they only have one waveform each – saw and pulse respectively. Not very flexible and quite limiting when sculpting sound.

One quite unique feature of it’s time however contributed to the lush sound called Vox Humana which could be said to be Gary Numan’s signature sound. The 2 oscillators per voice have each a separate LFO for frequency modulation which opens for wide and lush sounds. Also the Pulse Width has it’s own LFO.